Mascagni

In the first round of the competition we have to rehearse two works, Figaro (see posts below) and Cavalleria Rusticana (often abbreviated to Cav) by Pietro Mascagni. Figaro is to be rehearsed as a Sitz-Probe, (full orchestra but the singers are not in costume nor acting) Cav as a General Rehearsal (in the UK also known as a Dress Rehearsal) which is essentially a practice performance.

Performing Cav without any rehearsal will be a challenge for all of us in the competition, none of us will have much idea of what the chorus and principals are used to doing and the target for me will be to keep the thing going and demonstrate that I'm being clear and helpful even if I'm being ignored! The rubati in Santuza's aria are substantial and in this sort of music it's good to give the principal some room in which to manoeuvre and, at least to some extent, to let them lead. All this is usually worked out during the music rehearsals (conductor, soloists and piano) long before the stage director gets involved. Over time and the floor rehearsals a performance builds that the conductor and principal have both contributed to. I make no apology in repeating myself in that taking on an opera such as Cav where rubato is so much part of the performance without any rehearsal is a challenge.

Studying the work has been a re-discovered joy, I performed the work many years ago with its usual partner, I Pagliacci by Leoncavallo. Both are great works but when performed together Pag usually wins. Both have reasonable plots (for opera) and both have drama and passion. When paired together Pag is always performed second and just seems to have more of everything. It’s not surprising that it usually gets more attention than Cav. A recent production of the pair in London emphasized this to an outrageous degree. Cav was well sung but the production was minimal and dull, Pag was well sung with a superb production and was breathtaking. Studying Cav without its usual partner has been great in that I have not been distracted, it is a beautifully crafted piece, both vocally and orchestrally. It has made me decide that I must get more familiar with Mascagni’s other works. Usually when I do this I also decide that I must get more familiar with Leoncavallo’s other works as well, and as a result I do neither. I am now resolved to do both, but I will do Mascagni first.

There is a brief Wikipedia Article here and I’ve looked at the other operas available on Amazon; I will make a start this year. After all, I’m doing Gounod’s Faust in November and I have already listened with interest and great pleasure to several of his other works which are unknown in the UK, so I will do Mascagni. Then Leoncavallo. Cilea. Giordano.......